It was many years ago that I first heard of the Decemberists. I remember seeing the music video for "16 Military Wives" on the Wedge, back before Much had pushed it back into oblivion. I was still in high school, just getting into the music that I enjoy so much today. I enjoyed it so much that I searched them up on the closest peer-to-peer downloading network, and was surprised. I thought: "Hey these guys aren't just straight up indie, why are they writing about whales, and pirates, and street urchins?" For me this is what has always set the Decemberists apart from the rest of the independent scene that they are grouped in with, they write about what interests them and they do it with all honesty. The reason why "The Mariner's Revenge Song" was a such an ingenius piece of music was because they didn't play it with a sly "oh I'm so darn ironic" grin on their face, they played it hard and well and as if they were in the belly of that foul whale ranting at some wretched, unholy soul. So, naturally, when I heard that these guys were writing a rock opera I was pretty damn excited. And when I found out it was all based on an English folk tale involving evil forest queens, beautiful maidens, and a shape-shifting forest creature I nearly wet myself.
Now of course, people have been saying that the Decemberists are all pretense, and have been for a while. I'm not sure if I agree with that sentiment. This album, in all its awesome ridiculousness, sounds like the band is just enjoying themselves the entire time, instead of using the fantastical subject matter and the huge sound to show how they can handle such a huge album themselves. Mind you, the story does get slightly muddled up considering the fact that Colin Meloy sings as the shape-shifting forest guy and the narrator. Yet, despite some confusions here and there, the plot-line remains understandable and surprisinly engaging. Shara Worden (My Brightest Diamon) guests as the voice of the forest queen, as does Becky Stark of Lavendar Diamond. Hell, even Jim James makes an appearance once and a while.
Don't expect the quiet folkiness of previous albums when entering into The Hazards of Love, think "The Island.." but more, much, much more. The Hazards of Love is definitely a stylistic shift from previous outings. Huge, deep guitars and blistering riffs are all over this album. Shara Worden belts out frightening, and bizarrely sexy, lines amid an enormous blues riff and crashing drums. It has all the elements of a '70s rock opera, including incredibly sweet Hammond organ solos. Yes, they are sweet, I said it. The slow, love songs take elements '20s music and borrow heavily from country music with slow pedal steel guitar. Even a harpsichord makes an appearance. With the new sounds of this album, never once does it not sound like the Decemberists. There are still the recognizable vocal lines and the style of songwriting that is so very much Colin Meloy. The vocals are one of my few complaints of this album, there times when some of the songs sound a little too much like previous album's songs, but this is easily dismissed with the quality of this album.
I admit that I miss the songs of albums past that were just as sprawling but lasting only five minutes. They could fit so much emotion into a small slice of time, the kind of songs really left you with your hands open and your mouth open. This album is one of those five minute songs just fleshed out and spread over nearly an hour. This album, when listened in its entirety, is one of my favourites by the Decemberists, and I think it's intended to be listened to all the way through, or at least in segments. Seperately, some of the songs don't stand up as well as others, but all together it works well.
In the end I was conflicted between giving this album a slightly lower review than I did in the end, but I realized that The Hazards of Love had so many moments that truly surprised me. The huge Sabbath-esque distorted guitars and the dark plot truly tickled the fantasy nerd inside me. And really, I think that's why Mr. Meloy wrote this album, to satisfy the Princess Bride loving nerds in all of us, and there's nothing pretentious about that.
Rating: 4/5.
-Lucas Thurston
Tuesday 26 May 2009
Monday 18 May 2009
Live Review: Animal Collective - Sound Academy, Toronto, Ontario
There are some shows that I've been to that have gave me a true sense of satisfaction, others that have made me drop my jaw in pure, and others that humble me with the performers sheer skill. Rarely have I had the chance to experience a combination of all three feelings in one night, but Animal Collective managed to do it. Boy did they ever.
I have seen the Collective once before, right before the release of Strawberry Jam. It was actually my first actual showgoing experience, so it holds a dear place in my heart. Naturally my anticipation was reaching ridiculous heights while waiting in the large crowd. The stage was already setup with tables that had white sheets over top of them and a giant background of the Merriweather album cover. After about half an hour of waiting in the venue, Grouper took the stage. Liz Harris, the single member of Grouper, played a beautiful set of folky ambience that maybe half the crowd appreciated. The music she played was very enjoyable, it's just coming on before Animal Collective perform their latest, I can see why some people weren't as interested in her as they should have been.
Grouper left the stage and the curtains closed. It was almost time! A fog machine was pumping smoke through the vents, obviously encouraging the crowd to contribute to the haze. After bearing through a couple songs played over the speakers, curtains finaly opened as the band of the night walked to their respective positions. A large inflatable ball with a projection on it hanging from the ceiling, had been added to the stage's arrangement. Animal Collective kicked off the show with a very unexpected song. "Chocolate Girl" from Spirit They're Gone, Spirit They've Vanished was their opening, updated to the new MPP sound. Next was a new song that I've here is called "Blue Sky" or "What Would I Want Sky?". Either way, as projections of the word "God" flickered on the inflatable ball, the crowd began to rock to the oddly timed beat of "Blue Sky". After that, another surprise hit. The recognizable yell sample began to arise with a straight 4/4 beat, and Panda Bear began to sing: "try to tell me how to do it..." "Comfy In Nautica" was one of the highlights of the entire performance.
Over the course of the show, diehard fans of Animal Collective were rewarded with a 10 minute jam around "Firworks" and a reworked version of the old favourite "Slippi". Of course, the new favourites were played. "My Girls" worked the crowd to a fervor as it never achieved its full climax, and "Brothersport" was a truly aweinspiring moment as Avey Tare's and Panda Bear's complex vocal harmonies transferred flawlessly over into a live setting. After much cheering and yelled, this Toronto crowd got the band to come out play a mindblowing encore of "Chores" and "Summertime Clothes". Inbetween every song were transitional jams that tied the songs all together, morphing into eachother. There were times when the lights, the visuals, and the music gave such a sense of joy, it was almost overpowering. The songs would reach such heights that I would be distracted from dancing, and I would just have to stare at how three men could create such incredible sounds.
Once the curtains had closed and lights turned back on, we all walked outside to get some air from the stifling heat of the Sound Academy. We all sat down in awe and began to attempt to put our feelings about the show into words. I think Derek put it the best way: "That was... humbling."
-Lucas Thurston
I have seen the Collective once before, right before the release of Strawberry Jam. It was actually my first actual showgoing experience, so it holds a dear place in my heart. Naturally my anticipation was reaching ridiculous heights while waiting in the large crowd. The stage was already setup with tables that had white sheets over top of them and a giant background of the Merriweather album cover. After about half an hour of waiting in the venue, Grouper took the stage. Liz Harris, the single member of Grouper, played a beautiful set of folky ambience that maybe half the crowd appreciated. The music she played was very enjoyable, it's just coming on before Animal Collective perform their latest, I can see why some people weren't as interested in her as they should have been.
Grouper left the stage and the curtains closed. It was almost time! A fog machine was pumping smoke through the vents, obviously encouraging the crowd to contribute to the haze. After bearing through a couple songs played over the speakers, curtains finaly opened as the band of the night walked to their respective positions. A large inflatable ball with a projection on it hanging from the ceiling, had been added to the stage's arrangement. Animal Collective kicked off the show with a very unexpected song. "Chocolate Girl" from Spirit They're Gone, Spirit They've Vanished was their opening, updated to the new MPP sound. Next was a new song that I've here is called "Blue Sky" or "What Would I Want Sky?". Either way, as projections of the word "God" flickered on the inflatable ball, the crowd began to rock to the oddly timed beat of "Blue Sky". After that, another surprise hit. The recognizable yell sample began to arise with a straight 4/4 beat, and Panda Bear began to sing: "try to tell me how to do it..." "Comfy In Nautica" was one of the highlights of the entire performance.
Over the course of the show, diehard fans of Animal Collective were rewarded with a 10 minute jam around "Firworks" and a reworked version of the old favourite "Slippi". Of course, the new favourites were played. "My Girls" worked the crowd to a fervor as it never achieved its full climax, and "Brothersport" was a truly aweinspiring moment as Avey Tare's and Panda Bear's complex vocal harmonies transferred flawlessly over into a live setting. After much cheering and yelled, this Toronto crowd got the band to come out play a mindblowing encore of "Chores" and "Summertime Clothes". Inbetween every song were transitional jams that tied the songs all together, morphing into eachother. There were times when the lights, the visuals, and the music gave such a sense of joy, it was almost overpowering. The songs would reach such heights that I would be distracted from dancing, and I would just have to stare at how three men could create such incredible sounds.
Once the curtains had closed and lights turned back on, we all walked outside to get some air from the stifling heat of the Sound Academy. We all sat down in awe and began to attempt to put our feelings about the show into words. I think Derek put it the best way: "That was... humbling."
-Lucas Thurston
Tuesday 12 May 2009
Album Review: The Rest - Everyone All At Once
Hailing from the industrial wasteland known as Hamilton, the Rest play their haunting echoey indie rock with the beauty and skill of any of their more recognized contemporaries. Which brings up my point of this review: the Rest deserve to be known. Everyone All At Once is an incredible album, with all the ingredients of a very promising band. I have to admit, when I first heard of the Rest, I assumed they would be another local badly produced indie band that sounds like every other local badly produced indie band that is trying to be Modest Mouse. But no! They have layers of reverby guitar and cello, complicated turns in songs, and soaring buildups. Each track stands out on its own, but also keeps to the dark, expansive theme of the album. The album itself flows so nicely, each song going without a hiccup in between.
The first track "Coughing Blood / Fresh Mountain Air" is one of my favourites. It starts off with a dark bit of strings that quickly leads into an incredibly tender verse that builds and builds. Guitar lines become more complicated, strings move up in the mix, percussion slowly builds as the vocals reach there climax right before the song kicks into it's main theme. Incredible falsetto and crashing cymbals end to a sorrowful violin. Utterly stunning.
"Walk On Water (Auspicious Beginnings)" explores a more happy side of things. It works itself into a jumpy beat and upbeat vocals, before it changes completely to another happy little bit with a new vocal line, until finally it ends a joyous flailing guitar driven ending.
The title track, and also the final track, is split into two parts. The first, another upbeat number with little "ooo, ooo, ooo" backup vocals and sparkling guitar. The second half is another buildup that makes you want to stand in the middle of a misty forest, or on the edge of a cliff, or another location that would warrant such epic and beautiful music. The album takes you out the way you came in with a couple lines of strings that bring you down, mellows you out, and make you ready for a long deep sleep.
The Rest have crafted a beautiful album that is surely to please anyone looking for a reverby indie rock fix. And it makes me realize that maybe there are maybe a few good things that can come out of Hamilton.
Rating: 4 out of 5
-Lucas Thurston
The first track "Coughing Blood / Fresh Mountain Air" is one of my favourites. It starts off with a dark bit of strings that quickly leads into an incredibly tender verse that builds and builds. Guitar lines become more complicated, strings move up in the mix, percussion slowly builds as the vocals reach there climax right before the song kicks into it's main theme. Incredible falsetto and crashing cymbals end to a sorrowful violin. Utterly stunning.
"Walk On Water (Auspicious Beginnings)" explores a more happy side of things. It works itself into a jumpy beat and upbeat vocals, before it changes completely to another happy little bit with a new vocal line, until finally it ends a joyous flailing guitar driven ending.
The title track, and also the final track, is split into two parts. The first, another upbeat number with little "ooo, ooo, ooo" backup vocals and sparkling guitar. The second half is another buildup that makes you want to stand in the middle of a misty forest, or on the edge of a cliff, or another location that would warrant such epic and beautiful music. The album takes you out the way you came in with a couple lines of strings that bring you down, mellows you out, and make you ready for a long deep sleep.
The Rest have crafted a beautiful album that is surely to please anyone looking for a reverby indie rock fix. And it makes me realize that maybe there are maybe a few good things that can come out of Hamilton.
Rating: 4 out of 5
-Lucas Thurston
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